“Oh My God, Audience Participation!”: Some Twenty-First-Century Reflections

Sakellaridou, Elizabeth

doi:10.1353/cdr.2014.0005

Cited by 5 publications

(3 citation statements)

References 2 publications

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“…The proximity of Weaver's erotic body and her ambiguous gaze made me fully realize Ubersfeld's "cleavage" of experience, or-to use Blau's more mystical, but reverse-perspective, term-the "horror" of it.' [32] (p. 34) In other words, at the peak moment of emotional intensity, with the participant the sole focus of the performer's attention and with nothing to distract the participant from immersion in the world brought into being by the performer, their attention is utterly dominated by self-awareness, internal debates on how to act and the extreme awkwardness of relating to the performer. The participant's affect responded to the actual experience of encountering a naked actor in the context of a performance, rather than the fictional experience of an encounter between these two characters.…”

Section: Narcissistic Spectatorship and Participationmentioning

confidence: 99%

Sensibility, Narcissism and Affect: Using Immersive Practices in Design for Embodied Experience

Spence

Benford

2018

MTI

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'Embodiment' need not focus on isolated individuals or group interactions. This article articulates the potential for designs that prompt participants to bring relationships with other people to mind. These can be fleeting relationships between participants and unknown others, or remembered relationships with romantic partners, family members, or close friends who are not physically co-present or digitally represented. In either case, it is possible to generate affective responses that profoundly shape participants' emotional and physical reactions to, and co-creation of, the designed interaction. This article presents existing practices of immersive theatre to frame our exploration of this phenomenon. It introduces three theories-mise-en-sensibilité, narcissistic spectatorship and affect-through which we illuminate both the internally felt and the externally designed experience, whether or not it is explicitly framed as theatrical performance. Through analysis of two immersive performances (one-on-one interactions that could easily be understood in terms of experience design) and two designs of our own, we argue that the affect generated by personal relationships in immersive experiences can both shape and drive participation, and we offer a three-point guideline by which one can design for the affective consequences of bringing relationships to mind.

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Section: Narcissistic Spectatorship and Participationmentioning

confidence: 99%

Sensibility, Narcissism and Affect: Using Immersive Practices in Design for Embodied Experience

Spence

Benford

2018

MTI

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“…Even in the most banal conversations, the characters voice their own fears or desires rather than attempting to comfort one another (Woohead 2010). In the play, the dichotomy of inner/outer is vital for establishing that the domestic space is physically invaded by the outside evil world (Sakellaridou 2014). This is again denying the safety of the inner domestic space.…”

Section: Denialmentioning

confidence: 99%

The Complex Nature of Power and Language: Verbal Strategies in Martin Crimp’s The City

Inan

Yakut

2016

ELOPE

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The purpose of the paper is to examine the dynamic relationships between language and power in The City (2008), which was written by the groundbreaking playwright Martin Crimp. In a systematic and intentional way, Crimp’s language resists the established conventional standards and challenges any typical expectations for dramatic discourse. Crimp deconstructs language and dismantles its authorial guidance. He employs stimulating and inventive dialogues through word games and language strategies and devices such as repetitions, interruptions, silences and pauses, denial, concealment, other enhancement, negation, formulation, topic-shift and turn-taking. Crimp exploits language through effective and energetic rhythm, structure and form in order to depict the ethical disasters of the contemporary world. The playwright breaks the traditional dramatic form, replacing it with his unique device where the language does not communicate meaning but acts as a means of articulating power through verbal strategies.

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“…These questions have implications for our improvisational practices as well as curators of the performances, and were at the heart of many of the scores we created. Audience participation brings with it particular challenges, which have been discussed extensively with respect to theatre practice (White 2013;Ranciere 2009;Sakellaridou 2014;Kattwinkel 2003) but less so in the context of improvised dance performance. It also raises questions about co-authorship, which will be discussed later on in this article.…”

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confidence: 99%

Will you play? Implications of audience interventions in improvised dance performance

Breslin¹,

Cowley²,

Doughty³

2015

Choreographic Practices

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will you play? implications of audience interventions in improvised dance performance abstract This article addresses participation through audience interventions in the work of Quick Shifts Improvisation Collective. It reflects upon a range of approaches taken by Quick Shifts that invite audience members to participate in the development of their improvised dance performances. These modes of participation in Quick Shifts' practice and types of audience interventions are also considered in light of how they satisfy a broader social objective of cultural inclusivity and social value that can be equal to the aesthetic interests of Quick Shifts' artistic goals. Encouraging audience interventions has implications for the performers, the model of practice and the audience members themselves, and through examining six specific examples from Quick Shifts' body of performance work, these implications are revealed and analysed. Erving Goffman's Frame Analysis (1974) is used to explain and critique the design of the scores, and reveals issues of signalling the audience in the unconventional performance mode of improvised dance. The authors' interrogation of the potential for the audience to be implicated as co-authors in the work begins to open up questions about

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“Oh My God, Audience Participation!”: Some Twenty-First-Century Reflections

Cited by 5 publications

References 2 publications

Sensibility, Narcissism and Affect: Using Immersive Practices in Design for Embodied Experience

Sensibility, Narcissism and Affect: Using Immersive Practices in Design for Embodied Experience

The Complex Nature of Power and Language: Verbal Strategies in Martin Crimp’s The City

Will you play? Implications of audience interventions in improvised dance performance

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